Absolute tempo in multiple performances of Aboriginal songs: analyzing recordings of djanba 12 and djanba 14
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Open Access
Type
ArticleAbstract
Songs that are not notated but transmitted through live performance are of particular interest for the psychological study of the stability of tempo across multiple performances. While experimental research points to highly accurate memory for the tempi of well- known recorded ...
See moreSongs that are not notated but transmitted through live performance are of particular interest for the psychological study of the stability of tempo across multiple performances. While experimental research points to highly accurate memory for the tempi of well- known recorded music, this study asks whether there is any evidence of absolute tempo in a performance tradition that does not draw on such reference recordings. Fifty-four field recordings of performances of one Aboriginal dance-song, Djanba 14, were analyzed. Results showed that over a span of 34 years, performance tempi deviated positively or negatively, on average, by 2%. Such small tempo variation is similar to JND thresholds to discriminate the tempi of isochronous sequences. Thirty- five field recordings of another song from the same repertory, Djanba 12, deviated in tempi by an average of 3%. We discuss the musical, psychological, physical, and cultural factors likely to shape such temporal stability.
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See moreSongs that are not notated but transmitted through live performance are of particular interest for the psychological study of the stability of tempo across multiple performances. While experimental research points to highly accurate memory for the tempi of well- known recorded music, this study asks whether there is any evidence of absolute tempo in a performance tradition that does not draw on such reference recordings. Fifty-four field recordings of performances of one Aboriginal dance-song, Djanba 14, were analyzed. Results showed that over a span of 34 years, performance tempi deviated positively or negatively, on average, by 2%. Such small tempo variation is similar to JND thresholds to discriminate the tempi of isochronous sequences. Thirty- five field recordings of another song from the same repertory, Djanba 12, deviated in tempi by an average of 3%. We discuss the musical, psychological, physical, and cultural factors likely to shape such temporal stability.
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Date
2011-01-01Publisher
University of California PressLicence
This material is copyright. Other than for the purposes of and subject to the conditions prescribed under the Copyright Act, no part of it may in any form or by any means (electronic, mechanical, microcopying, photocopying, recording or otherwise) be altered, reproduced, stored in a retrieval system or transmitted without prior written permission from the University of Sydney Library and/or the appropriate author.Department, Discipline or Centre
Sydney Conservatorium of MusicPARADISEC
Citation
Bailes, Freya, and Linda Barwick. “Absolute Tempo in Multiple Performances of Aboriginal Songs: Analyzing Recordings of Djanba 12 and Djanba 14.” Music Perception 28, no. 5 (2011): 473–90.Share